Twain famously remarked that the trouble with opera was sitting through interminable periods of non-musical scene-setting to get to the good parts. On Saturday, the orchestra, under the direction of guest conductor Eric Hewitt, played nothing but the good parts.

One striking aspect of the performance was how much the good parts are sort of a Cliff’s Notes of the opera as a whole, epitomizing , if not the plot, then the emotional atmosphere of the work. Could it be that the composer himself merely used the libretto as an excuse for whatever arias he had in mind?

The Intermezzo from Puccini’s “Manon Lescaut,” for example, tells all one needs to know about the principal character and her fate. It was lushly Romantic and tragic at the same time, played with just the right amount of reserved emotion and tragic portent.

The orchestra entered into the spirit of the works, all quite familiar, with much more enthusiasm than is characteristic of professional (by that I mean for-pay) ensembles. Their interpretation of the “Liebestod” from “Tristan und Isolde” should never have been allowed in mixed company. It is the most graphic depiction of intercourse, raised to the level of religion, ever composed. The climactic measures were earth-shattering, the best I have ever heard, (and I dislike Wagner with equal passion).

Another aspect of these operatic works is the extreme difficulty of the orchestration. Many of them were re-composed as display pieces, poster children for the operas themselves. Richard Strauss’ Waltz Sequence No. 1 from “Der Rosenkavalier,” (Opus 139), which concluded the program, is the orchestral equivalent of a Godowski piano transcription of “The Blue Danube,” by another Strauss, quite impossible to play. The Midcoast did it anyway, and aside from a few minor glitches, managed it admirably, once again creating a perfect impression of the opera as a whole, as well as illustrating Strauss’s excessive love of the French horn.

I could hear Baron Ochs, besieged in a tavern by a flock of his illegitimate offspring, shouting “Papa. papa,” and muttering to his servant: “Leopold, wir gehens.”

The longest work of the evening was BIzet’s “Carmen” Suite, No. 2, in an arrangement by Ernesto Guiraud which includes some of the lesser-known interludes. It was also very well played, with an authentic Spanish-French flavor and virtuoso work by the trumpet and piccolo.

The regular conductor of the Midcoast, Rohan Smith, was playing in the violin section. I don’t know if he will appear at this afternoon’s concert at the Orion Center in Topsham, but it will be well worth attending in any event.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached a classbeat@netscape.net.

PORTopera’s 2016 production of George Bizet’s “Carmen” promises to be a landmark in the company’s long history in Maine. It was first performed 22 years ago at the State Theater, 11 years ago at Merrill Auditorium, and this year in a fully staged version at Merrill, with lead singers from the Metropolitan Opera.

Dona D. Vaughn has directed all three productions, and, as usual, has a surprise in store for audiences. She won’t say what it is, but it occurs in the third act. “Carmen” is scheduled for two performances at Merrill Auditorium: Wednesday, July 27 and Friday, July 29, and there are still a few tickets left. Maestro Stephen Lord will conduct a full orchestra, an auditioned adult chorus is being rehearsed by Robert Russell, and a children’s chorus by Sarah Bailey.

Why “Carmen” (again)? “It’s the most popular opera in the repertoire, surpassing “La Boheme” and ”Madame Butterfly,” and every time you see it, you find something new,” said Vaughn.

The opera has appeared in many guises, including the movie “Carmen Jones” with Harry Belafonte. Vaughn’s version will be traditional, sung in French with English supertitles, but set in the 1930’s around the time of the Spanish Civil War.

“Google is wonderful for authenticity,” Vaughn remarked. “You want Spanish wine bottles or rifles from the Franco era, and there they are. There’s no guesswork.”

The period sets were designed by Judy Gailen. “Just the change in style makes a difference in stage direction,” Vaughn points out. “The actors move differently in different costumes.”

The cast of the new production is a blend of Met singers and audience favorites from previous PORTopera presentations.

Maya Lahyani, mezzo-soprano, will sing the role of “Carmen.” The Israeli opera singer is a 2010 grand finalist of the Metropolitan Opera National Council Auditions and the recipient of an Adler Fellowship at San Francisco Opera. Highlights of Lahyani’s 2015-2016 season include performances at the Metropolitan Opera as Maddalena in “Rigoletto,” and Lola in “Cavalleria Rusticana.” “She not only has a wonderful voice, but is also a good actress and an artist passionately devoted to her role,” said Vaughn.

Adam Diegel, tenor, returns to PORTopera as Don Jose. This season, Diegel will also perform as Pinkerton in “Madama Butterfly” at Opera San Antonio, a role in which he was greatly admired a few seasons back by PORTopera fans.

Amanda Woodbury, soprano, will sing the role of Micaëla, in which she made her professional debut at LA Opera in 2013.

Ed Parks, baritone, will sing the role of Escamillo. Parks sang in Metropolitan Opera productions of “La Bohème,” “Die Zauberflöte,” and “Don Carlo” in the 2014-2015 season. This is his third time singing with PORTopera Previously he played Marcello in “La Bohème” and made his debut as Sharpless in “Madama Butterfly,”

Kenneth Kellogg, bass, will sing the role of Zuniga. .

Sahoko Sato, mezzo soprano, will sing the role of Mercédès. She is a native of Tokyo and grew up in Japan, Germany and the US.

Robert Mellon, baritone, returns to PORTopera to sing the role of Le Danca. He performed with PORTopera as Marullo (“Rigoletto”), in the title role in “Gianni Schicchi,” as Prince Yamadori (“Madama Butterfly”), as the Corporal (“La fille du régiment”) and as the Man (“Café Vienna”).

Lucas Levy, tenor, returns to PORTopera to sing Le Remendado while covering the leading role of Don José. In the summer of 2015, Levy joined PORTopera as a Young Artist, singing Spoletta in “Tosca” and the trio tenor in “Trouble in Tahiti.” Previously, Lucas appeared as Borsa in “Rigoletto” and Gherardo in “Gianni Schicchi.”

The role of Morales will be sung by Jorelle Williams and Maeve Höglund will sing Frasquita.

While we’re on the subject of PORTopera, the company’s Young Artists production of Gian Carlo Menotti’s “The Medium,” can be seen tonight (Friday) at the St. Lawrence Theater in Portland, and at Ocean Park in Old Orchard Beach on Sunday.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.